Better Oblivion Community Center: Better Oblivion Community Center
ethereal sound into the murky depths of dub. Marking a sonic shift for the project, we find the duo trading in chaoticbursts of noise for understated minimalism that's still characteristically melancholic and potent with emotion.Labrador's drum production is as deft as ever with an expanded range of electronic samples and tape delay inducedpolyrhythms. Layered with Madden's persistently dubby bass, Labrador's sparse guitar and gliding soprano floatabove a labyrinth of hypnotic sequences. These dublaced dirges signify growth within the band, heard in theircommand of repetition, space, and effects to build a pervasive mood that's often utterly heartbreaking.The Mirage was conceived following major upheaval in the pair's lives, including the loss of Madden's brother and anumber of friends in Oakland’s Ghost Ship warehouse fire in 2016. Compounded with the dissolution of a marriage,and leaving San Francisco to relocate to Los Angeles, the album is an exploration of grief and the multifacetedheartbreak that follows such events. 'The Mirage' tells candid narratives of a heavy heart but does not wallow indespair.

Good Fuck: Good Fuck
For the lyrics we agreed on 12 books we thought most relevant and came up with various systems to collapse and collage them into each other in different combinations. And packing up after the end of the week, we were stunned by the results Of course there were snags, technological and psychological. And of course we threw a good amount away. But what was left was not the result of trying to write songs, but the effortless evidence of what emerged when we got clear in our intentions and then just let it out."Tim Kinsella

Major Murphy: Lafayette EP
"Illegal Moves" is the band's most potent blend yet; a heady potion of free-jazz, psychedelia, punk & noise rock that is both tender and ferocious; the perfect soundtrack to smash capitalism and fix our broken system thru sonic catharsis and revolution. Songs like "Everybody Play" and "Beautiful Crystals" insinuate themselves into your brain with the rubbery synchronicity of bassist Peter Kerlin and drummer Jason Robira. Elsewhere "New Dad Blues" and "Greeneyed Pigmen (Get The Blade)" sting with a righteous fury beyond the piercing scree of guitarist Jim McHugh's electric phin or Jeff Tobias' saxophone skronks, and the band's cover of Alice Coltrane's "Ptah, the El Daoud" transforms her meditative elegy into a fiery protest march. The songs crackle with an energy informed by passionate disgust of the status quo realized on the album cover's illustration of the Kool-Aid Man battling the personifications of evil from across the world. A psychedelicized avatar for the general wrath and action that they believe in."